Amir H. Fallah

An Anthem For Uncertain Times

Amir H. Fallah has exhibited extensively in solo and group exhibitions both nationally and internationally. Selected solo exhibitions include the Museum of Contemporary Art in Tucson; South Dakota Art Museum, Brookings SD; Schneider Museum of Art, Ashland OR; San Diego ICA; and the Nerman Museum of Contemporary Art, Overland KS.

Fallah was chosen to participate in the 9th Sharjah Biennial in 2009. In 2015, Fallah received the Joan Mitchell Foundation Painters and Sculptors Grant. Fallah’s painting Calling On The Past received the Northern Trust Purchase Prize at EXPO Chicago in 2019. He was awarded the 2020 COLA Individual Artist Fellowship and the Artadia grant. In addition, Fallah had a solo exhibition at the Museum of Contemporary Art, Tucson, accompanied by a catalogue, and a year-long installation at the ICA San Jose.

Amir H. Fallah is the founder of Beautiful/Decay, an influential publication featuring art, design and illustration from around the world. Before the rise of the internet, it was released in print and internationally distributed during its run from 1996-2013. Learn More



For the past two years, Amir H. Fallah has created intricate and autobiographical paintings by mining the archives of universities, libraries, museums, and public collections. The resulting paintings perform as active documents of his lived experience. Turning to a new phase of his practice, Fallah turns to his own archive of paintings to produce works that exist solely in the digital realm. These new works function as archeological surveys, where new works cannibalize the old and uncover new perspectives within his practice. The works appropriate children’s book illustrations, advertising, art history and popular culture with a focus on themes of immigration, assimilation, climate change, xenophobia and social justice.

The new digital images that he has produced are logical extensions of Fallah’s long standing painting practice but exist independently in both material and concept. The images are flattened, layered, and stacked, calling attention to the psychological space of borders, identities, and histories while utilizing his personal history as an entry point to discuss race, representation, and the memories of cultures and countries left behind.


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